Evaluation service

July 9 — September 22, 2019
August 10 — September 15, 2019
July 26 — August 25, 2019
July, 7 — September 15, 2019
26th June — 29th September 2019
July 11, 2019 — September 1, 2019
June 22 — August 25, 2019
May 22 — September, 2019
April, 2nd — April, 7th 2019
Владимир Сальников, Из проекта «10000 левых женских ушей». Нина Котел. 1996.Бумага, графитный карандаш, акварель
Владимир Сальников, Из проекта «10000 левых женских ушей». Екатерина Шаумян, 1996. Бумага, графитный карандаш, акварель
Владимир Сальников, Из серии «Кефир фруктовый», 1982. Бумага, уголь, сангина, графит, акварель, пастель
Владимир Сальников, Портрет Нины К.,1981. Бумага, угольный и цветной карандаши
Владимир Сальников, Из серии «Порождение рисунка»,1976. Бумага, тушь, перо
Владимир Сальников,« А: Вы свободный человек? Б: Да это так.», 1976. Бумага, тушь,перо
Владимир Сальников, Спор об искусстве,2009. Холст, масло
Владимир Сальников, Теннис на острове Мауш, 2007. Холст, акрил
Date: September 27 — November 25, 2018


The Moscow Museum of Modern Art presents an extensive exhibition The Salvation of Spaces consecrated to the art of Vladimir Salnikov (June, 10th 1948 — July, 24th 2015), well-known Russian painter, video artist and art theorist, and curated by Irina Gorlova and Leonid Bazhanov. The project’s title refers to Vladimir Salnikov’s eponymous show that was realized by TV Gallery at the Centre of Contemporary Art at Yakimanka Street in 1995-2000. The artist invented his own television ‘faith’ and took the role of a ‘preacher’ addressing his ‘congregation’, that is the gallery visitors. His interaction with public went on as a dialogue established by means of a live television broadcast, as well as lectures conjuring the image of a hypnosis session. The project manifested the therapeutic nature of the artist’s personality, his ability to communicate: many beginning artists, critics and curators tended to perceive Salnikov as a guru. This experience with video and television media is not only one of the first interactive media installations in Russia but also one of the best-known Salnikov’s works. The Salvation of Spaces at the MMOMA spans the period of his 35-year artistic career and includes over 200 paintings, drawings, prints and videos. The display has a 4-part structure and follows not the traditional lines of a retrospective show but a specific installation principle, being organized by typologies and purposes of the artist. The Genesis of Drawing section (1970s-1980s) shows the artist’s numerous experiments with techniques and introduces Salnikov as not only a portraitist and video artist but also a brilliant master draughtsman. After 1980s the artist developed different themes and went on experimenting with art media. The Artist and his Model section (1980s-2000s) deals with the theme of corporality in his art and, besides the project of the same title, he made in collaboration with the writer Olga Kovalik, includes such series as The Hundred Images of Woman, The Artist and the Critic, The Holly Wood and The 10 000 of Left Female Ears cycle he worked on for several years. The Space of a Painting section presents Salnikov’s art from the 2000s, as well as his so-to-say ‘surrealistic’ experiments on the motifs from the 20th century Russian history and culture. Among them special mention should be made of a work entitled The Black Stockings to the Black Square (1988), which is peculiar in seeking to distance itself from the avant-garde heritage. The fourth section of The Salvation of Spaces show deals with the problem of interaction between an artist and his viewers, an author and critics. It is based on the very titular media project, which turned Salnykov into an art ‘preacher’ figure, and also includes monumental easel portraiture.

The exhibition displays the scope of Vladimir Salnikov’s talent at its largest, introducing the viewers to the world of his extensive artistic heritage. With their innovative spirit, unique style and special vibe, his works amaze by their variety and still keep their topicality in the world of today.


Vladimir Salnikov was born in 1948 in Chita, he graduated from the faculty of Arts and Technical Design of Printed Materials of the Moscow Polygraphic Institute (today the Moscow State University of Printing Arts) in 1971.

He was an illustrator in Muscovite publishing houses in 1971–1988, taught drawing, painting and composition at the Faculty of Graphic Arts of the Moscow Polygraphic Institute in 1972–1982, gave lectures at the School of Contemporary Art of the Russian State Humanitarian University (RGGU) in 1997–2000. His artworks were first exhibited in 1968. His first solo exhibition took place in 1980 at the Office of the Literaturnoe Obozreniye magazine. Then followed such shows as The Gullible Husband, The Niece of Hitler’s Artist, The Salvation of Spaces.


Leonid Bazhanov is a Russian art historian and theorist, curator, specializing in the field of contemporary art of mid-20th — early 21st century. He is the founder (1992) and art director of the National Centre for Contemporary Art from 1997 to 2016; he set up the creative association Hermitage (1985), as well as the Centre of Contemporary Art at Yakimanka Street (1991). He curated numerous exhibitions in Russia and abroad, including Russian projects at the international biennales in Venice (the Russian commissioner of the Venice Biennale in 2001 and 2002), São Paul, Istanbul, Cairo, New Delhi.

Irina Gorlova is a Russian art historian and theorist, curator. From 1996 to 2016 she was a researcher at the National Center for Contemporary Art (NCCA). Since 2017 she is the head of the Art Programs Department of the State Tretiakov Gallery. She has curated more than 50 exhibitions, including The Art of 2000s (together with Kirill Svetlyakov, 2018, the State Tretiakov Gallery), The Shards of War (together with Elena Tsvetaeva, 2015, the Baltic Venue of the NCCA), The Mistifiers (together with Mikhail Mindlin, 2016, NCCA, Moscow), The Object of Art (2015, NCCA, Moscow), Andrey Roiter. New House (2013, MMOMA).

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